This project involves a complete redesign of Gemeinschaft Immanuel e.V. – a Catholic community in Germany. The logo is based on the letters “iMM” and the idea that, if we focus on the things that unify rather than divide us, we move closer together. From this concept and the values of the community, the overall design language was developed.

Rather than relying solely on photography, typography plays a vital role in the design language. Aeonik is used as the default font, combined with the condensed and soft Instrument Serif. It is complemented by the monospaced JetBrains Mono on informational details, an intentional touch that simplifies the modification of dates and times.

Mindfully made. MACHETE is an accessories brand born from the belief that the everyday items we wear and love should be beautiful and long lasting. Designed in Atlanta by founder JJ Matchett, MACHETE jewelry and accessories are handcrafted with longevity and sustainability in mind. Elevating the brand identity and system through various touchpoints communicate the quality of the products, and serve as a thoughtful yet minimal backdrop to showcase the striking original designs and materials.

The MACHETE typographic system has been carefully considered to ensure balance, visual variety, and tonal flexibility. Freight Display Compressed Light is used for headlines and large callouts while GT America Mono Light and Regular are used in display subheads and body copy to add typographic texture. Where as Suisse Int’l is used for functional, straightforward subheads and body copy where legibility is key. Lastly, Joyce is used to add a personal touch to the brand's inspired content such as newsletters highlighting a color story or calling out details within a product's image for added warmth and texture. The logo is custom.

View the entire project on coricorinne.com.

Exhibition poster

The relation of content and form might be the number one topic in every discourse about graphic design. The visuals presented in this post provide a very interesting example in this regard.

Jacques Rougerie, born 1945, is a French architect mainly known for his interest in hostile habitats such as the outer space and the deep sea. Inspired by adventure novels like Jules Verne’s Twenty Thousand Leagues Under the Seas and by the groundbreaking diving explorations of Jacques-Yves Cousteau, Rougerie began to conceive underwater architecture in 1973. Under the title Jacques Rougerie – Living with the sea, the Villa Noailles dedicates a comprehensive exhibition to this pioneer architect. The venue is located in the city of Hyères on the French Mediterranean coast and thereby within a stone’s throw of some of the sites where Rougerie realized aquatic projects.

The advertising materials to promote the show build upon drawings, computer renderings, and architectural models that tell a story of technical advance as much as a history of science fiction visualization. Rougerie’s formal language evidently is inspired by nature itself. It’s in this aspect that the typographic choice is so interesting: the main display type used here is Gothic Lab, designed in collaboration between Production Type and Ivan Murit, a specialist in generative design.

Gothic Lab is based on the condensed, monolinear skeleton of Antique Gothic that – coincidentally – shows similarities to the sans-serif used on the title to Jules Verne’s seminal novel around the Nautilus and to the frontispiece with regards to the way in which the stems of the letters are brought to life through special effects. Gothic Lab comes with five different “skins”, patterns inspired by nature and size-specifically generated: Elephant, Croco, Snake, Mantis and Gecko, the latter used here in the LD variant with has less detailing than the HD style.

To draw a conclusion on content and form, both the images and the predominant typeface stem from an exploration of natural forms. As a result, there’s a great feeling of convergence without one part merely mimicking the other.

The other typefaces that complement the main act are Kreuz and Enduro, both by Emmanuel Besse and likewise available from Production Type, and Pangram Pangram’s Agrandir, used to typeset the logo of Villa Noailles.

Cover of the press kit

Newsletter announcement

Landing page for email marketing and newsletter platform Audienceful.com. The typography uses Centra No. 2 for headlines, all smaller text set in Inter.

New website and identity for Fresh Fonts, designed by Kolaps from Barcelona, with web development by Reveal Studio. Fresh Fonts is an independent publishing house based in Lausanne, Switzerland. They publish a monthly newsletter featuring a curated selection of new font releases from independent type designers and small foundries from all around the world.

For the expression of the brand, we start from the idea of uniting its creative and human tone with the fresh and innovative typefaces that are put at the forefront in their newsletter, without outshining them. Through the use of vibrant colors, dynamic condensed type, and lighthearted illustrations in the form of geometrical shapes — that represent the variety of services present in the company’s offering — we managed to give the brand an affable yet bold character, illustrating its spirit and its values.

The logo is set in NB International, which is also used throughout their digital material for supporting text and main copy, including on the email newsletter. The condensed, all-caps titling font is FK Screamer, making use of its backslanted and italic styles as well, and the variable font version was used to create stunning font animations on the website.

City pop is a breezy, mellow mixture of smooth jazz and AOR, often with additional elements of jazz fusion, jazz-funk or boogie. Commonly cited as a facet of the prosperous “bubble economy” era in Japan, city pop is essentially a “mood” or “lifestyle” genre which appealed to an older and more affluent Japanese audience during the 1980s.

Thematically, city pop reflects a life of luxury in a sophisticated urban environment. Albums in this genre were typically produced by pairing a vocalist with a group of talented session musicians in a high-tech studio setting with heavy record label involvement.

I discovered this genre a while ago and became obsessed with it. The biggest source of city pop nowadays is YouTube. That’s why I decided to create this newsletter so I could share the gems I found during my search on YouTube.

While creating the lettering of シティ • ポップ (“city pop”), I took inspiration from the logos and letterings of ’80s Japanese TV shows. They have really bold and unique fonts in Hiragana and Katakana and I wanted to create a mix of all the styles used.

Assorted covers of city pop albums.

TV show logos that provided inspiration.

Each glyph in the logo is taken from a different font.

You love the NBA, but you can’t keep up with all the weekly games, stats, rumors, and everything else in between. That’s why THE lazy NBA exists. To bring you the very best of the NBA, directly to your sofa, I mean inbox.

Neue Helvetica is used as the backbone font for this project throughout the website and emails. This font was chosen because every computer, no matter what age, can render and read the font.

Mrs Sheppards and ABC Ginto Nord are used strictly for the logotype. Ginto Nord is the perfect bold type to give that extra punch to the identity, while Mrs Sheppards brings the ideal ‘lazy’ element and graphical detail.

The primary color for this project is orange; however, when Playoffs are active, the color scheme changes to a ‘Playoff Blue.’ And in the NBA Finals, the color scheme transforms, yet again, into a ‘Championship Yellow.’

You can sign up for the email newsletter on thelazynba.com.

Two typefaces by Joshua Darden are paired for the identity of An Event Apart. Headings are in Jubilat Bold. Smaller text is rendered in several styles from Freight, using the Freight Sans subfamily in contrast to the serif family Jubilat.

An Event Apart is A List Apart’s series of live conferences for web professionals. Founded by Eric Meyer and Jeffrey Zeldman, it launched in 2005. The current website including the logo was designed by Monkey Do.

The logo is a combination of simplified laurel leaves and a slightly customized Freight Sans Bold.

Menu with upcoming events.

Homepage detail. Jubilat Bold here is used for the large call to action as well as for the locations and dates.

Article page in the Resources section.

Header from An Event Apart’s Digest email newsletter.

Landing page for investing newsletter Capital Minded: www.capitalminded.com

Anyway.Post is a bi-weekly newsletter focused on design news / resources / jobs digest in China. The simple landing page is designed to embrace the ‘old school’ newspaper feel and reading experience just like the e-mails themselves.

Campaign Monitor teams up with six of the most epic minds in email marketing to predict marketing trends for 2018.

The typography was inspired by traditional editorial, highlighting the emphasis placed on the written content of this opinion piece. In contrast, the imagery is futuristic and almost ephemeral. Abstract shapes convey an inherently digital feel, and the contrast of tradition versus futurism aims to push the boundaries of what we perceive as an online article.

2018 Predictions

Source: www.politico.com Politico Illustration/iStock/Getty Images. License: All Rights Reserved.

Politico is an American political-journalism company founded in 2007. The Jubilat typeface family by Darden Studio plays a major role in the visual identity of Politico’s online presence.

Source: www.politico.com Politico. Illustration by Daniel Hertzberg. License: All Rights Reserved.

Jubilat is complemented by Proxima Nova for small sans-serif text. The text face is Georgia.

Source: www.politico.com Politico. License: All Rights Reserved.

Led by creative director Janet Michaud (since 2016 together with art director Erin Aulov), Politico’s design team has made outstanding use of Jubilat Bold as the primary headline face in the magazine ever since the introduction of this format in 2013. We are happy to see how the hefty slab serif helps to lend reliability and gravitas to Politico’s “home for ambitious, distinctive journalism about the people, ideas, and institutions that matter most in Washington—and beyond.” Jubilat also adorns The Friday Cover, an email digest of the week’s best from the magazine.

Source: www.politico.com Politico. Illustrations by Piotr Lesniak and Doug Chayka. License: All Rights Reserved.

Jubilat again is paired with Proxima Nova as secondary typeface. The logos of Politico Magazine and The Friday Cover are in tightly spaced caps from Futura, with words separated by color rather than spaces.

Source: www.politico.com Politico. License: All Rights Reserved.

The Friday Cover typically goes with Jubilat Bold and Black, for maximum impact, often in center-aligned settings. Different sizes and colors as well as changes between all-caps and mixed-case settings make for a varied and yet consistent look.

Source: www.janetmichaud.com Janet Michaud. License: All Rights Reserved.

In its early years, The Friday Cover frequently featured several of Jubilat’s eleven weights, sometimes contrasting the strongly modulated Bold with the almost monolinear Light, see e.g. “Angry America”.
The typographic treatment used to be more variable, too, including overlapping glyphs, type on an angle, and different alignments.

Source: www.politico.com Politico. License: All Rights Reserved.

Inside the newsletter, Jubilat serves for headlines and, in a lighter weight, for pull quotes.

Furthermore, Jubilat is the typographic mainstay of The Agenda, Politico’s “home for the daily conversation around the ideas reshaping the country”, launched in June 2015 and initially art directed by Heather Barber. The typeface here appears in the all-caps logo as well as in headlines of various sizes, in regular and bold weights. Taking advantage of its sturdy forms, the designers use it reversed against colors and images.

Source: www.politico.com Politico. License: All Rights Reserved.

Source: www.politico.com License: All Rights Reserved.

The Agenda’s article teasers are arranged on a four-column grid. When placed on images, white Jubilat Bold get a subtle shadow treatment. The regular weight is used for articles without images.

Key visual of the 66th edition of Typostammtisch Berlin.

Established in 2006, Typo­stammtisch Berlin is a monthly meeting of type designers, typographers, graphic designers and all kinds of letter loving people. Throughout the year this strictly independent orginisation hosts different events from casual get-togethers and type crits to presentations, exhibitions and outings.

One of the recurring formats is a Pecha Kucha night, which happened for the fifth time in May 2017. In this very strict and compact format 12 individuals took on the challenge to talk about something they are passionate about, topics ranged from Arabic and Argentinian type culture, tools, experiments, found vernacular letters, to looks into the past and future. A detailed write-up of the evening (in German) can be found here.

After custom woodtype-inspired letters in 2016, the evening turned out to be a perfect — pardon the pun — fit for David Jonathan Ross’ Fit. It was used for the announcement and recap visuals, as well as during the evening. Together with Nikola Djurek’s Diurnal Display Bold, it helped facilitate the event, combining blocky, static shapes with eccentric, humanist forms.

Overview of all the title pages.

MailChimp is an email marketing service used by more than 9 million people and businesses around the world. This landing page was created for the company’s latest and most powerful feature set, MailChimp Pro.

Berlin-based online retailer Monoqi uses some pretty poor handwriting fonts on their website but I thought Xtreem (recently honored at Typographica) worked quite well in their Welcome email. Used sparingingly, it’s an energetic contrast to the calmness of the products and photography. The logo appears to be a modified Gotham.

Krrb is a marketplace for selling used goods to local buyers. In short, a stylish alternative to craigslist. Despite the slightly clumsy, forced connection of the ‘Kr’, the logo grabs you. It immediately says that this is a fun and friendly way to buy and sell stuff. It’s effective throughout the branding – from the website to the newsletter to the iPhone app.

The identity was designed by Arnaud Mercier who passed away in 2011.